Theatre Royal, Glasgow, 4 October 2012, and touring

ALTHOUGH the first work of the evening has already been seen as part of the Cultural Olympiad Dance GB programme in June, this is the first full programme put together by Scottish Ballet’s new Artistic Director, Christopher Hampson.

A TALL, dapper figure (he could pass for Philip Schofield’s much younger brother) steps out from between the curtains to introduce himself and tonight’s programme. Confident, direct and likeable, he charms the audience within minutes.

William Forsythe’s Workwithinwork (photo Andrew Ross)

The structure of the Autumn Season Programme signals a change of course after the Ashley Page/Antony McDonald years, whose hallmarks were lavishly gorgeous costumes and sets (thought these will remain the repertoire for some time). One of Hampson’s first moves on taking over from Ashley Page was, according to Chief Executive Cyndi Sughrue, to extend the company’s daily technique classes. Not only that, he often teaches them himself, and it appears his regime is going to be marked by a tight focus on the company’s classical foundations.

The houselights dim – and we’re off! The dancers are clad in simple sporty singlets and shorts for the Olympics-inspired Run For It, choreographed by Martin Lawrance to a soundtrack by John Adams, as a tribute to the strength and dedication of the Olympic athletes. Starting in pairs and trios, the partnering combinations gradually expand, with fractal repetitions of steps and lifts evoking the repetitive nature of athletic training and the importance of teamwork.

A dance performance, like an athletics competition, is the culmination of years of training, practice, sacrifice and pain and it’s evident that the dancers understand their kinship. The company’s unison work in this piece shows, already, the benefits of Hampson’s extra technique classes across all the dancers, not just the principals. It also seems to show a company which is enjoying itself; the emotion is infectious.

William Forsyth’s workwithinwork provides the centrepiece of the evening. Like the first piece it features minimal costumes, a simple backdrop and a fairly ascetic soundtrack – in this case, Luciano Berio. It’s no Nutcracker, that’s for sure. The combination of harsh lighting, leotards and Forsyth’s emphasis on sharp angularity leaves the dancers exposed; it’s a demanding work for them but they acquit themselves well. What is, very slightly, lacking is the overall smooth flow of a well-danced work and the communication of their understanding of it to the audience, but that’s nothing that a few more performances won’t fix.

The evening ends with a bonne bouche; the delightful flourish of 5 Tangos, a work by veteran choreographer Hans van Manen using the music of Argentinian composer Astor Piazzolla. It’s a work that is brimful of passion and fire. By contrast with the preceding works’ bodycon outfits the relatively modest flounces and red flashes of the female dancers’ costumes feel positively opulent. But the full luscious lavishness that is Scottish Ballet’s trademark is provided by the music (a special bouquet should be thrown to the cello soloist) and the dramatic, sensous dancing – Claire Robertson’s tango with six male dancers being a highlight.

A bravura close to an evening which promises well for the future of Scottish Ballet, it’s greeted with loud applause, cheers and demands for several well-deserved curtain calls. A good start.

Another sign of a new, green, direction for Scottish Ballet is the absence of printed programmes. They’re the first UK company to switch to a digital programme which can be viewed online before or after (but not during) the show.

© Jennie Macfie, 2012

Links

• Autumn Season Digital Programme